Tag Archives: african american community

Inspired by the works of artists such as Kendrick Lamar and Kehinde Wiley, I wanted to explore different levels of identity and representation of the black male in the United States. “Negus” is a Hip-hop work that asks African-American males, where do we come from, who are we now, what values do we uphold, what obstacles do we face in this society, and how do we overcome them?

In asking these questions, “Negus” seeks to use Hip-hop as a way to portray the humanity of the black male figure. In doing so, it directly opposes the commercial rap world– a primary source for the portrayal of the stereotypical black man–and delves deeply into some complications about certain aspects of the African-American experience.

“Negus” premiered at Urban Art Space in Columbus, OH in January of 2016. This film both captures the essence of the original work and completely wrecks it simultaneously. Within the film aspects of controversy between who we are and who we could/should be are portrayed as well as lighter themes such as rhythm, fun, etc. I hope this helps give you a way into viewing the film and I hope you enjoy!

Interestingly, there has been another movement, the Hip-hop movement, transpiring in urban environments, especially amongst African American males. Hip-hop’s music has always been used to represent a counter-cultural movement. However, the ways in which Hip-hop has accomplished this has shifted since it has become more commodified. In the 1980’s and 90’s Hip-hop was an amalgamation of messages and sounds as artists from all over the United States gained the access to rep their hood on a mainstream platform. Therefore, Hip-hop as a whole began to reject the norms of American culture by both positively empowering the black community and glorifying criminal behavior. Andre Douglas and Pond Cummings in Thug Life: Hip Hop’s Curious Relationship with Criminal Justice emphasize the latter part of this complex discourse in saying:

Hip-hop exposes the current punishment regime as profoundly unfair. It demonstrates this view by, if not glorifying lawbreakers, at least not viewing all criminals with disgust, which the law seeks to attach to them. Hip-hop points out the incoherence of the law’s construct of crime, and it attacks the legitimacy of the system. (19)

Songs such as Me So Horny by 2 Live Crew, Fuck The Police by Niggaz Wit Attidudes (NWA), and 6 In the Mornin’ by Ice T, which perpetuated violence and a gangsta lifestyle, stood in harmony with the socially conscious messages of My Philosophy by Boogie Down Productions, The Message by Grandmaster Flash and The Furious Five, and Fight The Power by Public Enemy. Ultimately, they all told their own story in their own way without apology, and it created a plethora of counter-cultural themes within the same genre.

This brought up the question for me, “Is the diversity of rap music still prevalent today on the commercial level?” I did an analysis of Billboard’s “Hot Rap Songs” of 2016 to explore this query. The top rap artists played through a commercial medium are Drake, Yo Gotti, Travis Scott, Future, Young Thug, Fetty Wap, and 2 Chainz. These rappers account for over 90% of the Billboard’s top 15 rap songs in 2016 (Billboard). I’ve listened to every song created by these artists that are posted on Billboard this month, and every single one falls into one or more of the counter-cultural themes of drugs, violence, or excessive sex while not one represents education or the exposing of issues within our government, our cities, or our country.